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Relevant bibliographies by topics / DESIGN / Graphic Arts / General

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Academic literature on the topic 'DESIGN / Graphic Arts / General'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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Journal articles on the topic "DESIGN / Graphic Arts / General"

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Creagh, Linda T., and Marlene McDonald. "Design and Performance of Inkjet Print Heads for Non-Graphic-Arts Applications." MRS Bulletin 28, no. 11 (November 2003): 807–11. http://dx.doi.org/10.1557/mrs2003.229.

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AbstractInkjet print heads have become the dominant printing element for home and office printers; they have been a key driver forthe digitization of wide-format graphic arts printing and other printing areas as diverse as addressing and carton coding. In the past few years, inkjet print heads have begun to have an impact in areas outside the graphics arts. In these applications, the inkjet print head may be considered a manufacturing tool; this implies that it will differ in design depending on the application. Also, standards forreliability, consistency, and dependability will differ from those in graphic arts areas. Even though non-graphic-arts applications differ widely in their details, there are general considerations in terms of the systems that are required. Each nontraditional application has specific goals for manufacturing, and a unique inkjet print head designed to meet these goals may be required. This article focuses on a specific piezo-based inkjet print head that has been engineered to meet the manufacturing requirements for flat-panel displays basedon light-emitting polymeric materials.

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Joshua Alahira, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal, Emmanuel Chigozie Ani, and Irunna Ejibe. "ECO-INNOVATIVE GRAPHIC DESIGN PRACTICES: LEVERAGING FINE ARTS TO ENHANCE SUSTAINABILITY IN INDUSTRIAL DESIGN." Engineering Science & Technology Journal 5, no. 3 (March 17, 2024): 783–93. http://dx.doi.org/10.51594/estj.v5i3.902.

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The intersection of graphic design and sustainability presents a dynamic arena for eco-innovative practices, particularly in the realm of industrial design. This review explores the integration of fine arts principles within graphic design to enhance sustainability initiatives in industrial design processes. The essence lies in leveraging the creative potential of graphic design to foster ecologically conscious solutions, thus contributing to the broader ethos of sustainable development. Eco-innovative graphic design practices encompass a range of strategies aimed at minimizing environmental impact while maximizing aesthetic and functional value. Drawing inspiration from fine arts disciplines, such as painting, sculpture, and photography, designers infuse their work with elements that reflect ecological awareness and responsibility. By integrating themes of nature, conservation, and sustainable living into visual communication, graphic designers play a pivotal role in raising awareness and inspiring action towards sustainable practices. In the context of industrial design, the collaboration between graphic designers and product developers yields innovative solutions that prioritize environmental sustainability. Through thoughtful consideration of materials, production processes, and end-of-life disposal, eco-innovative graphic design practices contribute to the creation of products that are both visually compelling and ecologically sound. Whether through the use of recycled materials, minimalist packaging designs, or biodegradable components, graphic designers harness their artistic prowess to redefine the parameters of sustainable design. Moreover, eco-innovative graphic design practices extend beyond the realm of physical products to encompass digital experiences and branding initiatives. Through digital platforms, designers have the opportunity to promote sustainability messaging, advocate for environmental causes, and encourage behavior change towards more eco-conscious consumption patterns. In conclusion, the integration of fine arts principles within graphic design serves as a catalyst for enhancing sustainability in industrial design. By leveraging creativity, innovation, and visual communication, designers have the power to shape a more sustainable future where ecological considerations are central to the design process. Embracing eco-innovative graphic design practices is not merely a stylistic choice but a conscientious commitment towards harmonizing human creativity with the imperatives of environmental stewardship. Keywords: Eco-Innovative, Graphic Design, Fine Arts, Industrial Design, Sustainability, Review.

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Svitlana Botvinovska, Tatyana Nikolayenko, Alexandra Kunovskaya, and Victoria Bolbotenko. "USE OF MODERN PEDAGOGICAL TECHNOLOGIES IN THE COURSE OF DESIGN GRAPHICS FOR STUDENTS OF THE SPECIALTY "FINE ARTS"." APPLIED GEOMETRY AND ENGINEERING GRAPHICS, no. 99 (December 17, 2020): 28–42. http://dx.doi.org/10.32347/0131-579x.2020.99.28-42.

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The paper presents the main advantages of using the project method during distance work of students when they execute a graphic project in the discipline "Engineering Design Graphics". Students study in the specialty "Fine Arts." It is known that high-quality education can be only when theoretical knowledge can be applied in practice. Therefore, it is the use of the project method in the study of graphic disciplines that can become the basis for the training of design specialists. The use of the project method in the study of graphic disciplines leads to an increase in student activity, the acquisition of teamwork skills, the expansion of students' worldview and the acquisition of professional competencies.The capacity of the project method is confirmed by high-quality student works that were submitted to the competition. In the process of creating the group logo, project participants gained research skills, consolidated their knowledge and skills in graphic description of existing images. The information received in the course "Engineering Design Graphics" allowed the contest participants to qualitatively express their thoughts, demonstrate their creative ideas, and provide the project with high-quality graphic images. The use of the project method allowed teachers to identify the research skills of first-year students, recognize among them those who are able to think independently make non-standard decisions and critically evaluate their work.During the project, students, working in groups, learned to combine the knowledge gained during training, became interested in information about graphic images and methods of their execution, learned to correlate the obtained theoretical material with the solution of the problem of geometric modeling of the emblem of the group. According to the results of the competition, it is possible to draw conclusions that students of the Project Graphics course demonstrated the ability to think independently, make interesting decisions, demonstrated the ability to qualitatively perform two-dimensional graphic images of various complexity when solving various engineering tasks and during design projects.

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Joshua Alahira, Kehinde Andrew Olu-lawal, Irunna Ejibe, and Nwakamma Ninduwezuor-Ehiobu. "SUSTAINABLE MATERIALS AND METHODS IN INDUSTRIAL DESIGN: BRIDGING THE GAP WITH FINE ARTS AND GRAPHIC DESIGN FOR ENVIRONMENTAL INNOVATION." Engineering Science & Technology Journal 5, no. 3 (March 17, 2024): 774–82. http://dx.doi.org/10.51594/estj.v5i3.901.

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In recent years, the urgency to address environmental concerns has prompted a paradigm shift in industrial design towards sustainability. This review explores the integration of sustainable materials and methods within the realm of industrial design, facilitated by the interdisciplinary collaboration with fine arts and graphic design. The paper examines how sustainable materials, characterized by their reduced environmental impact and recyclability, are increasingly favored in industrial design processes. It delves into the challenges faced by designers in implementing sustainable practices and the innovative solutions emerging from the fusion of traditional industrial design principles with concepts from fine arts and graphic design. Through a comprehensive literature review, this review highlights the importance of interdisciplinary collaboration in bridging the gap between industrial design and sustainability. It underscores how the integration of artistic sensibilities and graphic communication enhances the aesthetic appeal and functionality of sustainable designs, thereby driving environmental innovation. Case studies and examples from various industries illustrate successful collaborations where sustainable materials and methods have been seamlessly integrated into industrial design projects. The review also discusses the role of consumer awareness and market demand in fostering the adoption of sustainable practices within the design industry. Ultimately, this review emphasizes the transformative potential of merging sustainable materials and methods with fine arts and graphic design in industrial design. It advocates for a holistic approach that prioritizes environmental stewardship without compromising on creativity or functionality, thus paving the way for a more sustainable future in design. Keywords: Materials, Industrial Design, Fine Arts, Graphic Design, Environment, Innovation, Review.

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Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.

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The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced. Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades. If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.

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Joshua Alahira, Emmanuel Chigozie Ani, Nwakamma Ninduwezuor-Ehiobu, Kehinde Andrew Olu-lawal, and Irunna Ejibe. "THE ROLE OF FINE ARTS IN PROMOTING SUSTAINABILITY WITHIN INDUSTRIAL AND GRAPHIC DESIGN: A CROSS-DISCIPLINARY APPROACH." International Journal of Applied Research in Social Sciences 6, no. 3 (March 17, 2024): 326–36. http://dx.doi.org/10.51594/ijarss.v6i3.890.

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In contemporary design discourse, the intersection of fine arts with industrial and graphic design emerges as a pivotal avenue for promoting sustainability. This paper explores the evolving relationship between fine arts and design disciplines, highlighting their collaborative potential in addressing environmental challenges. By adopting a cross-disciplinary approach, it investigates how incorporating principles of fine arts into industrial and graphic design practices can foster sustainable solutions. The paper begins by contextualizing the current environmental crisis and the imperative for sustainable design interventions. It then delves into the fundamental principles of fine arts, emphasizing its emphasis on creativity, expression, and aesthetic sensibility. Through a comparative analysis, it elucidates how these principles can complement the technical aspects of industrial and graphic design to imbue products and visuals with sustainability-driven narratives. Furthermore, the paper examines case studies and examples where fine arts techniques and philosophies have been integrated into design processes to enhance sustainability. These include practices such as upcycling, biomimicry, and eco-conscious visual communication strategies. Additionally, it explores the role of fine arts education in nurturing a mindset that prioritizes environmental stewardship within design professionals. The findings suggest that by embracing a cross-disciplinary approach that embraces fine arts principles, designers can transcend traditional boundaries to create innovative, sustainable solutions. This synthesis of art and design not only enriches the aesthetic appeal of products and visuals but also instills a deeper consciousness of environmental responsibility. Ultimately, this paper advocates for a holistic integration of fine arts within industrial and graphic design practices as a means to promote sustainability in the face of global challenges. Keywords: Fine Arts, Graphic Design, Cross-Disciplinary, Industrial, Sustainability, Reviews.

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Wei, Wang. "Professional training of future fine arts teachers for the use of graphic design." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2023, no. 2 (143) (June 29, 2023): 68–73. http://dx.doi.org/10.24195/2617-6688-2023-2-9.

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The article is devoted to the urgent problem of training future fine arts teachers for the use of graphic design. The goal of the article is to systematize and generalize scientific research on the training of future fine arts teachers for the use of graphic design. It was specified that in modern society the issues of forming the professional qualities of the art teacher, creating the conditions that would ensure their training in the system of higher pedagogical education are becoming particularly acute. After all, nowadays there is a need to develop design skills and mastery in future art teachers who could use graphic design in their professional activity, as well as teach this craft to students so that they can create brochures, magazines, books, advertising products, various packaging, web design etc. It has been proven that the training of such specialists who have the basics of design culture is an urgent problem of modern art pedagogy. It was determined that the formation of design skills in students as an integral component of the professional qualities of a future teacher of fine arts is realized in the process of their activity, during which individual characteristics are manifested, which contribute to the formation of a person’s positive attitude towards their profession and the people with whom they work, as well as the desire for personal growth and professional improvement. In general, the training of future fine arts teachers for the use of graphic design is a long, controlled, responsible process of forming professional competences, the result of which is knowledge and skills that future specialists will use in their further activities; it is the unity of theoretical and practical readiness of future teachers of fine arts to use graphic design in their professional activities. It has been confirmed that proper training of future art teachers with established professional competences will provide opportunities to become competitive in the service market.

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Mustafa, Bahaa, and Abeer Ibrahim. "Graphic Design and the Role of Motion Graphics in Enriching and Promoting Tourism Advertising." Dirasat: Human and Social Sciences 50, no. 2 (March 30, 2023): 569–81. http://dx.doi.org/10.35516/hum.v50i2.4962.

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Objectives: The study aims to introduce the challenges faced by the reality of designing animated illustrations in advertising for tourism promotion in the Arab world. It explores the interest in designing animated illustrations in the Arab world and the challenges it faces, while seeking positive solutions capable of advancing the design and development of animated illustrations in the region. Methods: This study utilizes a descriptive analytical approach, chosen for its suitability in achieving the study's objectives. Results: The motion graphic industry is complex, requiring careful planning and decision-making on both the economic and technical fronts. It emphasizes the significance of graphic design and its role in motion graphic design, showcasing destinations in a captivating manner that sparks the tourists' desire to experience them in person. The study identifies the various steps involved in motion graphic design, including script writing, storyboarding, graphics, animation, and the creation of scenes for designing animated illustrations in tourism advertising. Furthermore, it focuses on processing these illustrations and presenting them in their final form. Conclusions: The study highlights the necessity for designers to be proficient in all design programs, stay updated with their advancements, and be familiar with their utilization to accurately accomplish their work and enhance the quality of motion graphics design..

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Gorbunova, Galina, Konstantin Savelyev, and Oksana Savelyeva. "General characteristic of professional skills on graphic activities in students of art and graphic design department of arts colleges." Perspectives of science and education 36, no. 6 (December 31, 2018): 196–204. http://dx.doi.org/10.32744/pse.2018.6.22.

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Bu, Yi. "System of Micrographics and the Visual Practice of the “New Wave”: To the Defi nition of the Principles of Contemporary Design." Observatory of Culture 15, no. 3 (August 19, 2018): 290–97. http://dx.doi.org/10.25281/2072-3156-2018-15-3-290-297.

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The paper is devoted to the study of the principles of micrographics in the artistic space and graphic design of the twentieth century. The article describes micrographics as an art phenomenon and considers it as an important element for the fi ne arts and graphics. The text studies principles of micrographic, which can be considered as an important component of the contemporary visual system. At the same time, micrographic elements defi ne the specifi cs of modern design. The article notes that micrographic principles are a common phenomenon in the visual systems throughout the 20th century. In addition, the article gives an attention to the typography and visual practice of the “New Wave” — the most important trend of graphic design in the second half of the 20th century. This phenomenon is considered as the central form of modern design whose specifi cs signifi cantly infl uenced the development of graphic design in general. At the same time, we observe the fact that the micrographic methods were important for the creation of the phenomenon of the “New Wave”. They correlate both: the visual system of the “New Wave” and the graphic program of modern graphic design. The article considers the main forms of micrographics, which were widely used in the system of “New Wave”. The author attempts to determine micrographics, and to give the characteristic of the “New Wave”. Micrographics is explored as a form in contemporary art space and as a system that had a signifi cant influence on the formation and development of the design in the twentieth century.

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Dissertations / Theses on the topic "DESIGN / Graphic Arts / General"

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Tedeschi, Carla. "Design theory and methodology /." Online version of thesis, 1992. http://hdl.handle.net/1850/11771.

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Plouffe, Danielle Grace. "Graphic design career information /." Online version of thesis, 1993. http://hdl.handle.net/1850/11960.

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Snape, Jason J. "Humor as an element in graphic design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11218.

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Zalewski, Sondra. "Design, graphic arts, and the environment /." Online version of thesis, 1994. http://hdl.handle.net/1850/12205.

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Neff, Mary Kay. "Educational/informational posters on graphic design /." Online version of thesis, 1987. http://hdl.handle.net/1850/10325.

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Stacy, Michelle A. "Graphic design and the unconscious codes /." Online version of thesis, 1992. http://hdl.handle.net/1850/11761.

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Settergren, Jane Ann. "PresentationMaker : Graphic Design Archive module 3.2 /." Online version of thesis, 1992. http://hdl.handle.net/1850/11072.

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Kuhn, Simon. "Critical design within the practice of graphic design." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1007843.

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Critical Design is a specific type of design activity that has emerged from within the field of product design. Based on the supposition that design is an ideological activity, it can either be critical or affirmative of the status quo and categorised as Critical Design or Affirmative Design. The intention of this study is to create Critical Design within the practice of graphic design. Critical Design was defined by identifying its key characteristics and then visualised into a diagram that maps the pathways, processes and consequences which distinguish Critical Design from Affirmative Design. The characteristics were used to generate criteria of Critical Design, which were then used to analyse case studies. The findings from this analysis suggested that both case study projects could be defined as Critical Design and served as a way of testing the appropriateness of the criteria. The practical component of this study used the characteristics of Critical Design to create a range of graphic design artefacts and then analysed them in relation to the criteria of Critical Design. The findings from this analysis determined the practical component as Critical [Graphic] Design and suggested that graphic design can be an appropriate medium for critique of its own role within society.

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Sisson, Laurel. "Experiential design /." Online version of thesis, 1993. http://hdl.handle.net/1850/11222.

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Hansen, Bret. "Graphic Design as Projection." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2117.

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I imagined a world where designing is projecting and where the entire design field is called projection. My research into what it means to be a projector culminates in a participatory creative project that embodies concepts of projection taken from a range of disparate subjects.

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Books on the topic "DESIGN / Graphic Arts / General"

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Broos, C. Dutch graphic design. London: Phaidon Press, 1993.

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Broos, C. Dutch graphic design: A century. Cambridge, Mass: MIT Press, 1993.

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Greenwald, Martin L. Graphic communications: Design through production. Albany, N.Y: Delmar Publishers, 1997.

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Lewis, Ferdinand. Touch: Graphic design with tactile appeal. Gloucester, Mass: Rockport, 2001.

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1946-, Crawford Tad, and American Institute of Graphic Arts., eds. AIGA professional practices in graphic design. New York: Allworth Press, 1998.

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Sheena, Calvert, and Casey Anoki, eds. Graphic design school: A foundation course for graphic designers working in print, moving image and digital media. 4th ed. London: Thames & Hudson, 2010.

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Sybrand, Zijlstra, ed. Apples & oranges 01: Best Dutch graphic design. Amsterdam: BIS, 2001.

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Russell, Bestley, ed. Visual research: An introduction to research methodologies in graphic design. Lausanne, Switzerland: AVA, 2005.

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Anja, Lutz, ed. Influences: A lexicon of contemporary graphic design. Berlin: Gestalten Verlag, 2006.

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1951-, Hinte Ed van, Schwartz Ineke, and Staal Gert, eds. Thonik. Amsterdam: Bis Publishers, 2001.

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Book chapters on the topic "DESIGN / Graphic Arts / General"

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Aucompte, Yann. "Graphic Design." In Arts, Ecologies, Transitions, 101–4. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-26.

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Barnes, Alison. "Geo/Graphic Design." In Non-Representational Theory and the Creative Arts, 19–32. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-5749-7_2.

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Parra-Martínez, José, and John Crosse. "Editorial Policies and Politics of Design in the Pre-case Study House Program Decade: The Visual Construction of California Arts & Architecture (193X–194X)." In Graphic Imprints, 657–71. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_53.

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Lima, Cláudia, Heitor Alvelos, Susana Barreto, Eliana Penedos-Santiago, and Nuno Martins. "From Painting to Graphic Arts: The Unique Legacy of Armando Alves." In Springer Series in Design and Innovation, 1–15. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49647-0_1.

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Jamaludin, Mohd Azlizan, Wan Zamani Wan Zakaria, Mazlan Said, Shahriman Zainal Abidin, Effandi Main, and Ismail Zakaria. "On the Role of Police Car Graphic Stripe in Design." In Proceedings of the International Symposium on Research of Arts, Design and Humanities (ISRADH 2014), 289–301. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-530-3_29.

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Tan, Choong Kheng, and Rebecca Yen Pei Kan. "Creative Inquiry in Graphic Design: Studio Habits in an Integrated Arts Project." In Teaching and Learning the Arts in Higher Education with Technology, 129–48. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-4903-5_8.

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dos Santos, Angela Maria, and Gisela Belluzzo de Campos. "Innovative Strategies on External Media: Dialogues Between Architecture, Graphic Design and Visual Arts." In Innovation, Engineering and Entrepreneurship, 971–77. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91334-6_133.

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Patria, Asidigisianti S., Ekohariadi Ekohariadi, and Any Sutiadiningsih. "Validity and Reliability Test of Literacy Skills Assessment Instrument for Graphic Design Student." In Proceedings of the International Joint Conference on Arts and Humanities 2022 (IJCAH 2022), 1899–907. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-008-4_206.

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Lima, Cláudia, Heitor Alvelos, Susana Barreto, Eliana Penedos-Santiago, and Nuno Martins. "The Birth of Graphic Design in a School of Fine Arts: How the Specificity of a Learning Environment Determined a Course’s Vocation." In Perspectives on Design II, 47–59. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79879-6_4.

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Hao, Ming, Zhou Xiaozhou, Xue Chengqi, Xiao Weiye, and Jia Lesong. "The Influence of the Threshold of the Size of the Graphic Element on the General Dynamic Gesture Behavior." In Human Systems Engineering and Design II, 354–59. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27928-8_54.

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Conference papers on the topic "DESIGN / Graphic Arts / General"

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Pasanec Preprotić, Suzana, Marina Vukoje, Gorana Petković, and Mirela Rožić. "Sustainable approach to book designing concepts in bindery sector: An overview." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p69.

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Nowadays, graphic arts bindery sector has shown growing environmental awareness in reaching the targets regarding economic, social, environmental, and technological aspects. Croatian bindery small entrepreneurship sector provides a piece of work done for clients in a sheetfed offset lithographic printing manufacturing which isn’t involved in any manner in bindery manufacturing. On top of that, sustainable bindery concepts are strictly related to effective printed resources usage, in which the generated waste is reduced through numerous binding manufacturing activities. In binding sector, designing concepts help achieve less negative environmental impact. Sustainable awareness is beginning from practical work, from preparing plans and a modelling shape, in which the process of designing the three-dimensional book presents its proposed structure on a printed original scale. Bindery eco-efficiency concepts cope with manufacturing service activities, in which the printed paper sheets (or outputs) together with binding raw materials move in a specific direction through the machine operations (cutting, folding, gathering, binding, trimming, joining and surface finishing), which are predictable in edition binding. This study provides a comprehensive overview on how a new approach in book designing might contribute to reducing “nonhazardous” printed or/and bound paper output residuals which gradually appear in a specific way during book binding process. What’s more, it offers “eco-friendly book binding”, which has “the best book in class” value. This eco-efficient bound production is monitored as well as the indices of graphic arts materials are followed up throughout the working procedures under standardized circumstances. These innovative creative thinking might bring up sustainable engineering solutions or frameworks in which “the business as usual” shifts towards “the eco-friendly business”. Eco-labelled printed paper sheets, from Croatian markets, are a sustainable choice which encourages responsible business and leads to zero pollution and circular economy. However, scientists have been worried about the fact that many manufacturing sectors rely on using adhesives with non-renewable resources, which are harmful to humans. Present published literature gives a general overview on the existing advanced adhesives which have less harmful impact on environment, but at the same time have promising performances.

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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.

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Lakićević, Milena, Ivona Simić, and Radenka Kolarov. "Designing parterres on the main city squares." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p66.

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A “parterre” is a word originating from the French, with the meaning interpreted as “on the ground”. Nowadays, this term is widely used in landscape architecture terminology and depicts a groundlevel space covered by ornamental plant material. The designing parterres are generally limited to the central city zones and entrances to the valuable architectonic objects, such as government buildings, courts, museums, castles, villas, etc. There are several main types of parterres set up in France, during the period of baroque, and the most famous one is the parterre type “broderie” with the most advanced styling pattern. Nowadays, French baroque parterres are adapted and communicate with contemporary landscape design styles, but some traits and characteristics of originals are still easily recognizable. In this paper, apart from presenting a short overview of designing parterres in general, the main focus is based on designing a new parterre on the main city square in the city of Bijeljina in the Republic of Srpska. The design concept relies on principles known in the history of landscape art but is, at the same time, adjusted to local conditions and space purposes. The paper presents the current design of the selected zone – parterre on the main city square in Bijeljina and proposes a new design strongly influenced by the “broderie” type of parterre. For creating a new design proposal we have used the following software AutoCad (for 2D drawings) and Realtime Landscaping Architect (for more advanced presentations and 3D previews). The paper provides detailed graphical representations for a new design proposal and explains the main design ideas and guidelines which can be applied even when designing parterres in the other urban space. Besides that, the paper lists the plant material that is suitable for establishing and maintaining parterres in the urban environment.

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Ozcan, Arif. "New approaches in smart packaging technologies." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p1.

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Customer expectations have changed due to the developing technology and changing and improving product variety. This has led the printing industry, the packaging sector in particular, to grow considerably. The food industry along with the increasing need to preserve food long periods of time have led to the need to develop methods that preserve the freshness and safety of food products during their shelf-life. For this reason, attention was paid to packaging systems to facilitate food processing, preserve food quality, extend shelf-life, and prevent the food from spoiling. Thanks to these systems, packaging went beyond being a simple barrier outside the food, and has also taken upon roles of releasing protective agents or removing unwanted matter. Microbial growth is one of the most important factors that cause food to spoil. Although the problem has previously been tried to be solved by heating, drying, fermentation, freezing and adding antimicrobial agents, there are limitations, especially when used with fresh food. Today, a new generation of technologies have been introduced to monitor the condition of products with a tiny sensor or label placed onto the packaging. Smart packaging is a packaging material that not only improves the basic functions of a product, but also responds to stimuli around this product. Smart packaging in general, has two main categories, namely intelligent packaging and active packaging. This study will examine the concept of smart packaging that has emerged due to increased competitiveness, digital interaction and consumer awareness, changes in consumer behaviour and expectations, and improved interest in product safety. As a result, it is obvious that state-of-the-art smart packaging, which can connect to the Internet and has many channels of interaction, will bring about new business models and create new customer experiences and will replace conventional packaging, which has no interactions, in the near future.

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Бидношия, Юрий. "Graphic presentation of dialect-ethnographic texts of Western Polissia." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.25.

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Western Polessia is a region divided after World War II by the state borders between Ukraine, Belarus and Poland. This was reflected not only in the languages of education, the general cultural background, but also, in particular, on the principles of presentation of dialectethnographic texts. When compiling and editing the volume “Ethnographic Image of Ukrainians Abroad. Corpus of expeditionary folklore and ethnographic materials” (part 1, 2019), we encountered different graphic design of dialectal and ethnographic texts of Western Polissia in publications from different countries. The volume contains texts from the territory of Brest region (Belarus) and Northern Podlasie (Poland), recorded by the staff of the Rylsky Institute of Art Studies, Folklore and Ethnology, as well as kindly provided by other researchers’ published and unpublished materials, collected since the early 1970s. As this volume is adjacent to the 10-volume collection of field materials “Ethnographic Image of Ukraine”, it became necessary to unify the graphic presentation of Western Polissia texts from different regions and different scientific schools. The developed algorithms for metagraphing of texts from the phonetic transcription of AUM and the special system of F. Klimchuk made it possible to present them in a unified and accessible way for non-philological readers. This emphasizes the unity of the Western Polissian dialect and the cultural continuum.

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Nuere, Silvia, Esperanza Macarena Ruiz Gómez, and Laura de Miguel Álvarez. "Sketch as a Tool of Thought in Art and Science." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.69.

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Professors from different studies such as fine arts, engineering in industrial design and digital graphic design and from different universities (Politécnica de Madrid, Complutense de Madrid and Internacional de La Rioja) have participated in an educational innovation project dealing with sketching as a starting point to creation. Teachers from the Universidad Complutense de Madrid and the Universidad Politécnica de Madrid proposed to their students exchange experiences. Students from industrial design went to classes to the Fine Art Faculty and fine art students had to deal with an industrial design proposal. The aim of the experience is to know how students from different studies manage drawing tools to start their work; drawings to finally paint a still life, drawings to understand volume in a sculpture plaster model to reproduce it with clay, and sketches to propose a Christmas ornament made with wood. After the experience, drawings from exercises from the three universities have been analyzed to establish similarities and differences in the use of visual language (points, lines, planes, surfaces, and color, between others). Fine art students use the lines with ease, hints, light with the inclusion of color spots as part of the approach to the solution. Industrial design students, on the other hand, consider the line as an essential element in their drawings, well-marked, clearly delimiting the edges of the object, integrating color as an addition rather than as an integrating element. And finally, but not last, students from digital graphic design use lines as a language to propose fast schematic approaches, lines as added texts, and generally a lack of color. Even though each field of knowledge has some particularities, we think that the drawing approach is essential to face creations no matter their essence. Sketches in early stages mean to face problems, to think and to translate ideas into a two-dimensional surface.

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De Jorge-Huertas, Virginia, and Ana Isabel Rodríguez-Aguilera. "Dibujar y cartografiar: un marco teórico para arquitectura y paisajismo." In Jornadas sobre Innovación Docente en Arquitectura. Grup per a la Innovació i la Logística Docent en l'Arquitectura (GILDA), 2023. http://dx.doi.org/10.5821/jida.2023.12236.

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The process of map production to discover and project on the territory is a mechanism like that linked to the design process of a project. This mechanism is shared by architecture and cartography, constituting the former as a valuable approach to propose teaching-learning strategies in architecture schools. The objectives of this research are related to the possibility of the development of training as a landscape architect in Spain. The methodology focuses on creating the theoretical framework from the study of the state of the art in national and international universities and analysing the points in common between landscape architecture and architecture in university education in general and around graphic expression in particular. The results intend to provide a theoretical guide for a common subject of Graphic Representation Systems between the Degree of Architecture and the Degree of Landscape Architecture. El proceso de producción del mapa como medio para descubrir y proyectar sobre el territorio es un mecanismo similar al vinculado al proceso de diseño de un proyecto. Se trata de un mecanismo compartido por la arquitectura y la cartografía, siendo esta última una valiosa aproximación para plantear estrategias de enseñanza-aprendizaje en las escuelas de arquitectura. Los objetivos de la presente investigación están relacionados con la posibilidad del desarrollo de la formación como paisajista en España. La metodología se centra en crear el marco teórico a partir del estudio del estado del arte en universidades nacionales e internacionales y analizar los puntos en común entre el paisajismo y la arquitectura en la educación universitaria en general y en el área de expresión gráfica en particular. Los resultados intentan aportar una guía teórica para una asignatura común de Sistemas de Representación Gráfica entre el Grado de Arquitectura y el de Paisajismo.

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Berdichevskiy, Evsey. "PROSPECTS INTELLECTUAL INFORMATION TECHNOLOGIES IN CONTEMPORARY GRAPHIC DESIGN." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.108.

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Zhang, Chuncai. "On Graphic Design in Visual Packaging Design." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.155.

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Ziph-Schatzberg, Leah. "A new approach to the design of imagesetters using image simulation software." In Color Hard Copy and Graphic Arts. SPIE, 1992. http://dx.doi.org/10.1117/12.2322235.

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Reports on the topic "DESIGN / Graphic Arts / General"

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Удріс, Ірина Миколаївна, and Наталя Сергіївна Удріс-Бородавко. Design of the Franco-Belgian Exhibition Poster of the 1890-s in the Context of the Art Nouveau Style Formation. КНУКіМ, 2019. http://dx.doi.org/10.31812/123456789/5087.

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The purpose of the article is to determine the artistic and graphic peculiarities of the Franco-Belgian exhibition poster of the 1890s in the context of the formation of the Art Nouveau style. The research methodology of the work is based on the use of traditional art methods: historical and cultural, reconstructive and model, historical and attributive, which contributed to the revealing of artistic and graphic transformations in the field of Franco-Belgian spectacular poster. The scientific novelty of the article lies in the author’s artistic interpretation of the stylistic manner of the creators of the spectacular poster in “style floreale” as one of the leading directions of the development of the artistic style of that period. The distinctive features of this type of the artistic work are outlined on the basis of the review of the stylistic and image transformations of exhibition posters of the famous artists – J. Chéret, A. Toulouse-Lautrec, E. Grasset, A. Mucha, A. Privat-Livemont and others. Attention is focused on the identification of the presentation features of the advertised exhibition events as an important cultural events of that time. Means of artistic visualization of information are studied taking into consideration the specific nature of the poster. Conclusions. In the general cultural and historical context of that time, the poster has become a significant component of the formation of national trends in the artistic style of the day, in particular - the Franco-Belgian Art Nouveau style. The exhibition poster, reflecting the stylistic landmarks of the time, contributed to the formation of the artistic vision as a manifestation of the cultural and artistic landmarks of the studied period.

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Wells, Aaron, Tracy Christopherson, Gerald Frost, Matthew Macander, Susan Ives, Robert McNown, and Erin Johnson. Ecological land survey and soils inventory for Katmai National Park and Preserve, 2016–2017. National Park Service, September 2021. http://dx.doi.org/10.36967/nrr-2287466.

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This study was conducted to inventory, classify, and map soils and vegetation within the ecosystems of Katmai National Park and Preserve (KATM) using an ecological land survey (ELS) approach. The ecosystem classes identified in the ELS effort were mapped across the park, using an archive of Geo-graphic Information System (GIS) and Remote Sensing (RS) datasets pertaining to land cover, topography, surficial geology, and glacial history. The description and mapping of the landform-vegetation-soil relationships identified in the ELS work provides tools to support the design and implementation of future field- and RS-based studies, facilitates further analysis and contextualization of existing data, and will help inform natural resource management decisions. We collected information on the geomorphic, topographic, hydrologic, pedologic, and vegetation characteristics of ecosystems using a dataset of 724 field plots, of which 407 were sampled by ABR, Inc.—Environmental Research and Services (ABR) staff in 2016–2017, and 317 were from existing, ancillary datasets. ABR field plots were located along transects that were selected using a gradient-direct sampling scheme (Austin and Heligers 1989) to collect data for the range of ecological conditions present within KATM, and to provide the data needed to interpret ecosystem and soils development. The field plot dataset encompassed all of the major environmental gradients and landscape histories present in KATM. Individual state-factors (e.g., soil pH, slope aspect) and other ecosystem components (e.g., geomorphic unit, vegetation species composition and structure) were measured or categorized using standard classification systems developed for Alaska. We described and analyzed the hierarchical relationships among the ecosystem components to classify 92 Plot Ecotypes (local-scale ecosystems) that best partitioned the variation in soils, vegetation, and disturbance properties observed at the field plots. From the 92 Plot Ecotypes, we developed classifications of Map Ecotypes and Disturbance Landscapes that could be mapped across the park. Additionally, using an existing surficial geology map for KATM, we developed a map of Generalized Soil Texture by aggregating similar surficial geology classes into a reduced set of classes representing the predominant soil textures in each. We then intersected the Ecotype map with the General-ized Soil Texture Map in a GIS and aggregated combinations of Map Ecotypes with similar soils to derive and map Soil Landscapes and Soil Great Groups. The classification of Great Groups captures information on the soil as a whole, as opposed to the subgroup classification which focuses on the properties of specific horizons (Soil Survey Staff 1999). Of the 724 plots included in the Ecotype analysis, sufficient soils data for classifying soil subgroups was available for 467 plots. Soils from 8 orders of soil taxonomy were encountered during the field sampling: Alfisols (<1% of the mapped area), Andisols (3%), Entisols (45%), Gelisols (<1%), Histosols (12%), Inceptisols (22%), Mollisols (<1%), and Spodosols (16%). Within these 8 Soil Orders, field plots corresponded to a total of 74 Soil Subgroups, the most common of which were Typic Cryaquents, Typic Cryorthents, Histic Cryaquepts, Vitrandic Cryorthents, and Typic Cryofluvents.

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